Musical Beat Research Articles

Left Motor δ Oscillations Reflect Asynchrony Detection in Multisensory Speech Perception.

During multisensory speech perception, slow δ oscillations (∼1-3 Hz) in the listener's brain synchronize with the speech signal, likely engaging in speech signal decomposition. Notable fluctuations in the speech amplitude envelope, resounding speaker prosody, temporally align with articulatory and body gestures and both provide complementary sensations that temporally structure speech. Further, δ oscillations in the left motor cortex seem to align with speech and musical beats, suggesting their possible role in the temporal structuring of (quasi)-rhythmic stimulation. We extended the role of δ oscillations to audiovisual asynchrony detection as a test case of the temporal analysis of multisensory prosody fluctuations in speech. We recorded Electroencephalograph (EEG) responses in an audiovisual asynchrony detection task while participants watched videos of a speaker. We filtered the speech signal to remove verbal content and examined how visual and auditory prosodic features temporally (mis-)align. Results confirm (1) that participants accurately detected audiovisual asynchrony, and (2) increased δ power in the left motor cortex in response to audiovisual asynchrony. The difference of δ power between asynchronous and synchronous conditions predicted behavioral performance, and (3) decreased δ-β coupling in the left motor cortex when listeners could not accurately map visual and auditory prosodies. Finally, both behavioral and neurophysiological evidence was altered when a speaker's face was degraded by a visual mask. Together, these findings suggest that motor δ oscillations support asynchrony detection of multisensory prosodic fluctuation in speech.SIGNIFICANCE STATEMENT Speech perception is facilitated by regular prosodic fluctuations that temporally structure the auditory signal. Auditory speech processing involves the left motor cortex and associated δ oscillations. However, visual prosody (i.e., a speaker's body movements) complements auditory prosody, and it is unclear how the brain temporally analyses different prosodic features in multisensory speech perception. We combined an audiovisual asynchrony detection task with electroencephalographic (EEG) recordings to investigate how δ oscillations support the temporal analysis of multisensory speech. Results confirmed that asynchrony detection of visual and auditory prosodies leads to increased δ power in left motor cortex and correlates with performance. We conclude that δ oscillations are invoked in an effort to resolve denoted temporal asynchrony in multisensory speech perception.

Music and Politics: An Introduction. By James Garratt

‘Writing about music and politics can sometimes feel like a no-win game’ (p. xiii). James Garratt’s assessment in Music and Politics: A Critical Introduction will be appreciated by many readers. The relationships between these fields are multifaceted, and inseparable from the wider composition of society. An illustrative example from Garratt’s text is North Korea’s public rallies and parades, where ‘the state’s musical beat is drilled daily into its citizens’ through months of rehearsals (pp. 124–5). Perhaps the success of this strategy in securing ‘complicity’ is now less ‘puzzling’ (if not less ‘objectionable’) (p. 125) to readers from Britain who in 2020 witnessed (or participated in) ten weeks of Thursday night ‘clapping for carers’, as the historically underfunded NHS strained to respond to the ‘first wave’ of the COVID-19 pandemic. Though the initiative arose outside of government and was widely seen as apolitical, the musical spectacle, with hundreds of thousands of...

How Do You Feel the Rhythm: Dynamic Motor-Auditory Interactions Are Involved in the Imagination of Hierarchical Timing.

Predicting and organizing patterns of events is important for humans to survive in a dynamically changing world. The motor system has been proposed to be actively, and necessarily, engaged in not only the production but the perception of rhythm by organizing hierarchical timing that influences auditory responses. It is not yet well understood how the motor system interacts with the auditory system to perceive and maintain hierarchical structure in time. This study investigated the dynamic interaction between auditory and motor functional sources during the perception and imagination of musical meters. We pursued this using a novel method combining high-density EEG, EMG, and motion capture with independent component analysis to separate motor and auditory activity during meter imagery while robustly controlling against covert movement. We demonstrated that endogenous brain activity in both auditory and motor functional sources reflects the imagination of binary and ternary meters in the absence of corresponding acoustic cues or overt movement at the meter rate. We found clear evidence for hypothesized motor-to-auditory information flow at the beat rate in all conditions, suggesting a role for top-down influence of the motor system on auditory processing of beat-based rhythms, and reflecting an auditory-motor system with tight reciprocal informational coupling. These findings align with and further extend a set of motor hypotheses from beat perception to hierarchical meter imagination, adding supporting evidence to active engagement of the motor system in auditory processing, which may more broadly speak to the neural mechanisms of temporal processing in other human cognitive functions.SIGNIFICANCE STATEMENT Humans live in a world full of hierarchically structured temporal information, the accurate perception of which is essential for understanding speech and music. Music provides a window into the brain mechanisms of time perception, enabling us to examine how the brain groups musical beats into, for example a march or waltz. Using a novel paradigm combining measurement of electrical brain activity with data-driven analysis, this study directly investigates motor-auditory connectivity during meter imagination. Findings highlight the importance of the motor system in the active imagination of meter. This study sheds new light on a fundamental form of perception by demonstrating how auditory-motor interaction may support hierarchical timing processing, which may have clinical implications for speech and motor rehabilitation.

Steady state-evoked potentials of subjective beat perception in musical rhythms.

Synchronization of movement to music is a seemingly universal human capacity that depends on sustained beat perception. Previous research has suggested that listener's conscious perception of the musical structure (e.g., beat and meter) might be reflected in neural responses that follow the frequency of the beat. However, the extent to which these neural responses directly reflect concurrent, listener-reported perception of musical beat versus stimulus-driven activity is understudied. We investigated whether steady state-evoked potentials (SSEPs), measured using electroencephalography (EEG), reflect conscious perception of beat by holding the stimulus constant while contextually manipulating listeners' perception and measuring perceptual responses on every trial. Listeners with minimal music training heard a musical excerpt that strongly supported one of two beat patterns (context phase), followed by a rhythm consistent with either beat pattern (ambiguous phase). During the final phase, listeners indicated whether or not a superimposed drum matched the perceived beat (probe phase). Participants were more likely to indicate that the probe matched the music when that probe matched the original context, suggesting an ability to maintain the beat percept through the ambiguous phase. Likewise, we observed that the spectral amplitude during the ambiguous phase was higher at frequencies that matched the beat of the preceding context. Exploratory analyses investigated whether EEG amplitude at the beat-related SSEPs (steady state-evoked potentials) predicted performance on the beat induction task on a single-trial basis, but were inconclusive. Our findings substantiate the claim that auditory SSEPs reflect conscious perception of musical beat and not just stimulus features.

Linking the genomic signatures of human beat synchronization and learned song in birds

The development of rhythmicity is foundational to communicative and social behaviours in humans and many other species, and mechanisms of synchrony could be conserved across species. The goal of the current paper is to explore evolutionary hypotheses linking vocal learning and beat synchronization through genomic approaches, testing the prediction that genetic underpinnings of birdsong also contribute to the aetiology of human interactions with musical beat structure. We combined state-of-the-art-genomic datasets that account for underlying polygenicity of these traits: birdsong genome-wide transcriptomics linked to singing in zebra finches, and a human genome-wide association study of beat synchronization. Results of competitive gene set analysis revealed that the genetic architecture of human beat synchronization is significantly enriched for birdsong genes expressed in songbird Area X (a key nucleus for vocal learning, and homologous to human basal ganglia). These findings complement ethological and neural evidence of the relationship between vocal learning and beat synchronization, supporting a framework of some degree of common genomic substrates underlying rhythm-related behaviours in two clades, humans and songbirds (the largest evolutionary radiation of vocal learners). Future cross-species approaches investigating the genetic underpinnings of beat synchronization in a broad evolutionary context are discussed. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Singing the Individual: Name Tunes in Oyda and Yopno.

Music beats spoken language in identifying individuals uniquely in two disparate communities. In addition to their given names, which conform to the conventions of their languages, speakers of the Oyda (Omotic; SW Ethiopia) and Yopno (Finisterre-Huon; NE Papua New Guinea) languages have “name tunes,” short 1–4 s melodies that can be sung or whistled to hail or to identify for other purposes. Linguistic given names, for both communities, are often non-unique: people may be named after ancestors or contemporaries, or bear given names common to multiple individuals. But for both communities, name tunes are generally non-compositional and unique to individuals. This means that each new generation is likely to bring thousands of new name tunes into existence. In both communities, name tunes are produced in a range of contexts, from quotidian summoning and mid-range communication, to ceremonial occasions. In their use of melodies to directly represent individual people, the Oyda and Yopno name tune systems differ from surrogate speech systems elsewhere that either: (a) mimic linguistic forms, or (b) use music to represent a relatively small set of messages. Also, unlike some other musical surrogate speech traditions, the Oyda and Yopno name tune systems continue to be used productively, despite societal changes that have led to declining use in some domains.

How groove in music affects gait.

Rhythmic auditory stimulation (RAS) is a gait intervention in which gait-disordered patients synchronise footsteps to music or metronome cues. Musical 'groove', the tendency of music to induce movement, has previously been shown to be associated with faster gait, however, why groove affects gait remains unclear. One mechanism by which groove may affect gait is that of beat salience: music that is higher in groove has more salient musical beats, and higher beat salience might reduce the cognitive demands of perceiving the beat and synchronizing footsteps to it. If groove's effects on gait are driven primarily by the impact of beat salience on cognitive demands, then groove's effects might only be present in contexts in which it is relevant to reduce cognitive demands. Such contexts could include task parameters that increase cognitive demands (such as the requirement to synchronise to the beat), or individual differences that may make synchronisation more cognitively demanding. Here, we examined whether high beat salience can account for the effects of high-groove music on gait. First, we increased the beat salience of low-groove music to be similar to that of high-groove music by embedding metronome beats in low and high-groove music. We examined whether low-groove music with high beat salience elicited similar effects on gait as high-groove music. Second, we examined the effect of removing the requirement to synchronise footsteps to the beat (i.e., allowing participants to walk freely with the music), which is thought to remove the cognitive demand of synchronizing movements to the beat. We tested two populations thought to be sensitive to the cognitive demands of synchronisation, weak beat-perceivers and older adults. We found that increasing the beat salience of low-groove music increased stride velocity, but strides were still slower than with high-groove music. Similarly, removing the requirement to synchronise elicited faster, less variable gait, and reduced bias for stability, but high-groove music still elicited faster strides than low-groove music. These findings suggest that beat salience contributes to groove's effect on gait, but it does not fully account for it. Despite reducing task difficulty by equalizing beat salience and removing the requirement to synchronise, high-groove music still elicited faster, less variable gait. Therefore, other properties of groove also appear to play a role in groove's effect on gait.

An Investigation of Lexical Cohesion on Indonesian Singer Song

This paper sheds light on investigating the lexical cohesion on an Indonesian singer song entitled Coke Bottle by Agnez Mo. Lexical cohesion constitutes linguistic devices that help to create cohesiveness of the text. Lexical cohesion occurs when two words or more in a text are semantically related somehow – in other words, they are related in terms of their meaning. This study's design was a descriptive qualitative that attempted to elaborate the discourse analysis about lexical cohesion in Coke Bottle song by Agnez Mo. Some steps were conducted to collect the data, firstly, the lyrics that become the documentation were collected by the researcher from lyrics.com, secondly the researcher read the lyrics to understand the text. Thirdly, marking some words included as lexical cohesions in which they will be the real data of this study. The findings revealed that reiteration and collocation are found in the song, but the antonym that is part of reiteration is absent. Above all, repetition is the most commonly used in this song, especially the word I. This seems to indicate that the songwriter tried to make the song's lyrics match the music's beat, so the song became easy listening, and the listeners can enjoy the music.

Clapping in Time With Feedback Relates Pervasively With Other Rhythmic Skills of Adolescents and Young Adults.

Rhythmic expertise is a multidimensional skill set with clusters of distinct rhythmic abilities. For example, the ability to clap in time with feedback relates extensively to distinct beat- and pattern-based rhythmic skills in school-age children. In this study we aimed to determine whether clapping in time would relate to both beat- and pattern- based rhythmic tasks among adolescents and young adults. We assessed our participants on seven tasks: two beat-based tasks (Metronome and Tempo adaptation), two pattern-based tasks (Reproducing rhythmic patterns and Remembering rhythmic patterns), a self-paced drumming task, a task of drumming to a music beat, and a clapping in time task. We found that clapping in time correlated with all other rhythmic tasks, even though some were not mutually related to one another. These results provide insight into the taxonomy of rhythmic skills and support the practice of clapping in time with feedback as a means of developing broad spectrum rhythmic abilities.

Choreography cGAN: generating dances with music beats using conditional generative adversarial networks

In recent years, automatic music-driven choreography has become a highly challenging problem to be solved. In this paper, we propose a music-driven choreography system based on conditional generative adversarial networks. First, a dataset MF-DS integrating MFCC features and Dancing Skeletons extracted from Japanese dancing videos is built by ourselves for the study. The MFCC features are extracted based on music beats, and the dancing skeletons are detected based on the image frames of a video. In the training, we use a generative adversarial network to train the music-driven choreography system. The generator integrates residual blocks into fractionally stridden convolution, and the discriminator involves conventional CNNs. Two indicators called beat loss values and choreography diversity values are proposed to evaluate three learning models in the experiments. Finally, we validate that the three models with the best epochs have the near-zero loss for the generator and discriminator, thereby generating stable skeletons and presenting choreography diversity.

On-Beat/Off-Beat

Audio-visual rhythm can be achieved in a variety of ways, in film as well as in music videos. Here, we have studied human visual responses to video editing with regard to musical beats, in order to better understand the role of visual rhythm in an audio-visual flow. While some suggest that music videos should maintain synchrony in the audio-visual rhythm, and others claim that music videos should be rhythmically loose in their structure, there is a functional aspect of vision and hearing that reacts to the juxtaposition of audio and visual rhythms. We present empirical evidence of cognitive effects, as well as perceptual differences with attentional effects, for viewers watching music videos cut on-beat and off-beat.

Collective music listening: Movement energy is enhanced by groove and visual social cues.

The regularity of musical beat makes it a powerful stimulus promoting movement synchrony among people. Synchrony can increase interpersonal trust, affiliation, and cooperation. Musical pieces can be classified according to the quality of groove; the higher the groove, the more it induces the desire to move. We investigated questions related to collective music-listening among 33 participants in an experiment conducted in a naturalistic yet acoustically controlled setting of a research concert hall with motion tracking. First, does higher groove music induce (1) movement with more energy and (2) higher interpersonal movement coordination? Second, does visual social information manipulated by having eyes open or eyes closed also affect energy and coordination? Participants listened to pieces from four categories formed by crossing groove (high, low) with tempo (higher, lower). Their upper body movement was recorded via head markers. Self-reported ratings of grooviness, emotional valence, emotional intensity, and familiarity were collected after each song. A biomechanically motivated measure of movement energy increased with high-groove songs and was positively correlated with grooviness ratings, confirming the theoretically implied but less tested motor response to groove. Participants’ ratings of emotional valence and emotional intensity correlated positively with movement energy, suggesting that movement energy relates to emotional engagement with music. Movement energy was higher in eyes-open trials, suggesting that seeing each other enhanced participants’ responses, consistent with social facilitation or contagion. Furthermore, interpersonal coordination was higher both for the high-groove and eyes-open conditions, indicating that the social situation of collective music listening affects how music is experienced.

DanceIt: Music-Inspired Dancing Video Synthesis.

Close your eyes and listen to music, one can easily imagine an actor dancing rhythmically along with the music. These dance movements are usually made up of dance movements you have seen before. In this paper, we propose to reproduce such an inherent capability of the human-being within a computer vision system. The proposed system consists of three modules. To explore the relationship between music and dance movements, we propose a cross-modal alignment module that focuses on dancing video clips, accompanied by pre-designed music, to learn a system that can judge the consistency between the visual features of pose sequences and the acoustic features of music. The learned model is then used in the imagination module to select a pose sequence for the given music. Such pose sequence selected from the music, however, is usually discontinuous. To solve this problem, in the spatial-temporal alignment module we develop a spatial alignment algorithm based on the tendency and periodicity of dance movements to predict dance movements between discontinuous fragments. In addition, the selected pose sequence is often misaligned with the music beat. To solve this problem, we further develop a temporal alignment algorithm to align the rhythm of music and dance. Finally, the processed pose sequence is used to synthesize realistic dancing videos in the imagination module. The generated dancing videos match the content and rhythm of the music. Experimental results and subjective evaluations show that the proposed approach can perform the function of generating promising dancing videos by inputting music.

Drum-Aware Ensemble Architecture for Improved Joint Musical Beat and Downbeat Tracking

This letter presents a novel system architecture that integrates blind source separation with joint beat and downbeat tracking in musical audio signals. The source separation module segregates the percussive and non-percussive components of the input signal, over which beat and downbeat tracking are performed separately and then the results are aggregated with a learnable fusion mechanism. This way, the system can adaptively determine how much the tracking result for an input signal should depend on the input's percussive or non-percussive components. Evaluation on four testing sets that feature different levels of presence of drum sounds shows that the new architecture consistently outperforms the widely-adopted baseline architecture that does not employ source separation.

Voice Complaints, Vocal and Non-vocal Behaviours Among Beatboxers – A Preliminary Study

Beat boxing is an art of vocal percussion, which involves imitating musical instruments using oral structures. They use techniques like click rolls and trills which involves the usage of entire vocal apparatus for a longer period making use of the human body as a versatile physical instrument to recreate musical beats as well as vocal expressions. The aim and objectives of the present study were to develop a questionnaire and to profile the voice complaints, vocal and non-vocal habits among beatboxers in India. A cross-sectional study design was used to profile the voice complaints, vocal and non-vocal habits among beatboxers in India. Phase I involved questionnaire development and validation. Phase II involved data collection and analysis. Thirty-seven beatboxers from India participated of which 70.27% were trained. The beatboxers reported of beatboxing musical instruments such as; flute/trumpet, harmonica, guitar, and drums. The commonly practiced vocal techniques was bass (22.07%). Most common vocal complaints included vocal fatigue after long usage of voice (72.97%) and breathing difficulty after performance (86.49%). Further, 76.38% reported of using loud voice during performances. Poor non-vocal habits such as muscle tension during beatboxing (56.76%), breathing difficulty during beatboxing (45.94%). Two most common good non-vocal habits included food intake on time (78.38%) and use of relaxation techniques (72.97%) prior to performance. The present study was a preliminary attempt to profile the voice complaints, vocal and non-vocal habits observed in this upcoming profession of beatboxing. Further, studies are needed to explore the voice of these professionals from a multidimensional perspective.

The singing voice is special: Persistence of superior memory for vocal melodies despite vocal-motor distractions

Vocal melodies sung without lyrics (la la) are remembered better than instrumental melodies. What causes the advantage? One possibility is that vocal music elicits subvocal imitation, which could promote enhanced motor representations of a melody. If this motor interpretation is correct, distracting the motor system during encoding should reduce the memory advantage for vocal over piano melodies. In Experiment 1, participants carried out movements of the mouth (i.e., chew gum) or hand (i.e., squeeze a beanbag) while listening to 24 unfamiliar folk melodies (half vocal, half piano). In a subsequent memory test, they rated the same melodies and 24 timbre-matched foils from ‘1–Definitely New’ to ‘7–Definitely Old’. There was a memory advantage for vocal over piano melodies with no effect of group and no interaction. In Experiment 2, participants carried out motor activities during encoding more closely related to singing, either silently articulating (la la) or vocalizing without articulating (humming continuously). Once again, there was a significant advantage for vocal melodies with no effect or interaction of group. In Experiment 3, participants audibly whispered (la la) repeatedly during encoding. Again, the voice advantage was present and did not differ appreciably from prior research with no motor task during encoding. However, we observed that the spontaneous phase-locking of whisper rate and musical beat tended to predict enhanced memory for vocal melodies. Altogether the results challenge the notion that subvocal rehearsal of the melody drives enhanced memory for vocal melodies. Instead, the voice may enhance engagement.

Instructed versus spontaneous entrainment of running cadence to music tempo.

Matching exercise behavior to musical beats has been shown to favorably affect repetitive endurance tasks. In this study, our aim was to explore the role of spontaneous versus instructed entrainment, focusing on self‐paced exercise of healthy, recreational runners. For three 4‐min running tasks, 33 recreational participants were either running in silence or with music; when running with music, either no instructions were given to entrain to the music, or participants were instructed to match their running cadence with the tempo of the music. The results indicated that less entrainment occurred when no instruction to match the exercise with the musical tempo was provided. In addition, similar to the condition without music, lower speeds and shorter step lengths were observed when runners were instructed to match their running behavior to the musical tempo when compared with the condition without such instruction. Our findings demonstrate the impact of instruction on running performance and stress the importance of intention to entrain running behavior to musical beats.

How a Hip-Hop digital Space Became an Outlet for Political Dialogue

This paper explores the implications of a digital music studio that was created as a gathering place to craft music (beats) and write personal reflections (rhymes). I document how the studio emerged as a safe space for expression and self-exploration and in turn, became a hub for conversation around complex political issues for the College and beyond.

Effects of language experience on domain-general perceptual strategies

Speech and music are highly redundant communication systems, with multiple acoustic cues signaling the existence of perceptual categories. This redundancy makes these systems robust to the influence of noise, but necessitates the development of perceptual strategies: listeners need to decide how much importance to place on each source of information. Prior empirical work and modeling has suggested that cue weights primarily reflect within-task statistical learning, as listeners assess the reliability with which different acoustic dimensions signal a category and modify their weights accordingly. Here we present evidence that perceptual experience can lead to changes in cue weighting that extend across tasks and across domains, suggesting that perceptual strategies reflect both global biases and local (i.e. task-specific) learning.In two experiments, native speakers of Mandarin (N = 45)—where pitch is a crucial cue to word identity—placed more importance on pitch and less importance on other dimensions compared to native speakers of non-tonal languages English (N = 45) and Spanish (N = 27), during the perception of both English speech and musical beats. In a third experiment, we further show that Mandarin speakers are better able to attend to pitch and ignore irrelevant variation in other dimensions in speech compared to English and Spanish speakers, and even struggle to ignore pitch when asked to attend to other dimensions. Thus, an individual's idiosyncratic auditory perceptual strategy reflects a complex mixture of congenital predispositions, task-specific learning, and biases instilled by extensive experience in making use of important dimensions in their native language.

Where does the beat fall? Speech-beat alignment in Mandarin and English singing

Text-to-sing generates singing from text input (i.e., music score with lyrics), from which only syllable-level speech-music alignment can be acquired. To enhance the text-to-sing models, more fine-grained phoneme-level information is needed. We therefore investigate the acoustic measurements of segments and their temporal relationship with music beats as an answer from a linguistics perspective. Two research questions are addressed: (1) Do beats align with syllable onsets or nuclear vowel onsets? (2) Do different types of consonants present different speech-beat alignment results? Unaccompanied singing by professional singers in two rhythmically dissimilar languages, English (15 songs) and Mandarin (25 songs), were analysed. Data were segmented manually into phonemes by a trained annotator; a music scholar independently labelled the beats. Preliminary results suggest that Mandarin songs strongly favour vowels as anchors for beats (66.7%) while only 52.9% of beats fall on vowels in English. Both languages show that the beats have a strong preference for the end of consonants and the beginning of vowels. Phoneme types also play a significant role in the speech-beat alignment distribution. Future modelling of the speech-beat alignment in singing and comparison with speech rhythm data will also contribute to linguistic rhythm theories.